In whichever version (1873, 1877 or 1889) Bruckner’s Third is a marvellous
symphony, which proclaims the full range and power of his genius.

Jaap van Zweden is one of the most seasoned Bruckner conductors working
today and he opts for the second version, dating from 1877, with a
tighter structure than the original score of four years previously.
The symphony was dedicated to Richard Wagner, whom Bruckner called
‘the Master’. Various Wagner quotations were excised from this revision.

The studio recording made at Hilversum is very fine, at once atmospheric
and detailed. Listen for example to the opening phrase of the first
movement, when Bruckner clarifies the phrase structure within the
first subject with some wonderfully astute orchestration. The balance
Zweden and his recording engineers achieve here is just right. Not
only does this set the tone for the listener’s experience, it also
sets the context for the music’s longer term architecture.

Dynamic shadings are expertly handled, with abundant atmosphere and
the release of power whenever it is required. Thus the dramatic climax
of the first movement, as the exposition comes to its close, releases
a tremendous symphonic intensity. At the other extreme of the musical
experience is the sensitive pianissimo that is found so often in the
second movement Andante. The string playing of the Netherlands
Radio Philharmonic is exemplary, whether in extending the musical
line with glowing richness or in providing a subtle backdrop of texture
while the woodwinds play above.

The scherzo betrays Bruckner’s rustic origins from Upper Austria.
The rhythms suggest that the orchestra and conductor are wearing lederhosen,
so authentic do they seem. Here pastoral innocence lurks at one end
of the spectrum, a powerful dance of the earth at the other.

As so often in 19th century symphonies, the finale is the most problematic
part of the score. There are those who will contend that only the
original 1873 version will do. The 1889 version is more drastically
cut than that from 1877, in which the musical structure holds up more
strongly. Zweden certainly conveys the vehemence of the opening theme,
which is probably the most important aspect of the movement. However,
it is the second theme that warrants the most exact description, since
it is a subtle combination of polka and chorale which Bruckner described
with a telling anecdote: ‘In the tavern there is dancing, while next
door the master lies in his coffin.’ Zweden manages to balance these
aspects most successfully and the music therefore extends the range
of the movement in a wholly satisfying manner. Towards the end of
the work the principal theme from the first movement comes back to
make its emphatic point. It confirms the essential unity of the whole
conception which it most certainly does in this excellent performance.

Bruckner’s Third Symphony is well served on CD in all three versions.
Of those who have recorded this 1877 version, Daniel Barenboim and
the Berlin Philharmonic (Warner Elatus 2564 60533) and Bernard Haitink
and the Vienna Philharmonic (Philips 422 411-2) are particularly successful,
but it needs to be said that Zweden’s new version stands up to the
comparison and is undoubtedly a major achievement.

Jaap van Zweden is one of the most seasoned Bruckner conductors working
today and this new version of Bruckner’s Third is undoubtedly a major
achievement.